نشریه مطالعات هنر اسلامی
پیاپی 36 (زمستان 1398)

Marzban-nameh is one of the most imperative works written by Marzban bin Rostam bin Shahriar during the Sultanate of Rum dynasty. This valuable literary work which is considered as one of the most magnificent literary works of Persian and Tabari languages is translated and edited by Mohammad bin Ghazi Malatavi and has been titled as "Ruza-al Aqul”. The concept of the book contains stories told by animals bearing ethical and didactic morals which are narrated in a specific technical and literary manner. The heroes of these stories are often animals, plants, and creatures that play the symbolic role of the characters in the story; moreover, at times, humans are also applied as symbols of the actual personalities of the stories.  One of the concepts mentioned in this book is the unification of religion and politics which embodies the ancient theme of divine monarch theory. This library-based research with a descriptive-analytic approach explores the descriptive themes of monarchy with four approaches: religion and monarchy, Far-e-Izadi (divine divinity) and Zel-e-Elahi (divine reverence), dominion awe and wisdom in the stories of Ruza-al Aqul. Finally, the results of this study indicate that Malatavi explicitly refers to the connection between religion and monarchy in the Ruza-al Aqul; however, in the overall analysis, this aspect of the divine theory of monarchy is seen with the least frequency. Therefore, from his point of view, the sultan's policy, before it bears a strong connection with religion, must have the characteristics Far-e-Izadi (divine divinity) and Zel-e-Elahi (divine reverence), dominion awe and wisdom which will sustain the structure and create popularity among all.

Culture as the norms of a society endures a significant role in the structure of the Islamic Republic of Iran. Also, architecture as a visual example can also be considered as the vital core of a nation's culture. Thus, creating an efficient model based on Iranian-Islamic culture is require in the field of architectural studies. In this study, the cultural components of Islamic - Iranian architecture are clarified and enlightened. These components create architectural spaces based on the pattern of Islamic - Iranian culture and thus increase the cultural quality of the phenomenon.  In the process of this research, after expressing the necessary prerequisites and concepts on the subject of Iranian Islamic architecture and the allocation of such topics with cultural concepts, through the design of models and approaches with the help of common cultural patterns and ideas, in order to scientifically prove such prototypes and expressions of the expert discourse community, the Delphi technique and a Likert scale questionnaire with a statistical population including elite scholars related to the mentioned topics, titles and indices were prioritized. After confirming the validity and frequency of responses in S PSS software, including descriptive analysis of variance, mean and Cronbach's statistics, the statistical results indicate that initially there is a high correlation between the questions proposed in the questionnaire and the relevance of architectural components and cultural indices. Also, the questionnaire has high reliability.

Research objectives:

1. Explaining the cultural components of Islamic-Iranian architecture model (cultural engineering in Islamic architecture of Iran) 2. Providing a standard for designers as well as architectural management assistants for the purpose of evaluating and assessing architectural designs. Research questions: 1. What are the common features of Iranian-Islamic architecture and Islamic-Iranian culture? 2. What are the cultural components of Iranian-Islamic architecture based on cultural attachment characteristics?

Happiness, as an inner sensation, is featured in the verses of poets such as Saadi, who is one of the pioneers of the Persian sonnet. In his sonnets, Saadi points to features that create happiness and invites people towards serenity and contentment and far from sorrowfulness and grief. In Saadi's sonnets, the components of external and aphasic happiness as well as inner and infinitive happiness can be studied. The outer components of happiness, such as enjoying the beauties of nature and spring, pleasurable memories, being in the company of friends, songs, music and dance; also additionally, inner components of happiness comprising of goodness, justice, etc. Hence, the most imperative factor in regard to happiness is love. In this article, in addition to the external happiness factors mentioned, the main factor of the manifestation of joyfulness which is love will be discussed. Love is considered as the gem of Iranian painting in such a way that it is impossible to isolate the theme from the structure of the painting. This article relies on library studies and is based on a descriptive and content analysis method.

Research questions:

1. To what extent is happiness reflected and manifested in Iranian paintings? 2. What effect has the concept of happiness had on the structure of the paintings?

Research aims:

1. A study of the concept of happiness expressed in Saadi's sonnets manifested in Iranian painting. 2. To investigate and reveal the intertwined form and content of paintings with themes of joy in painting.

Persepolis is the name of one of the ancient cities of Iran that has been the glorious capital of the Achaemenid kingdom for many years. In this ancient city there is a palace called Persepolis, built during the reign of Darius the Great, Khashayarshah and Ardashir I and has been around for about 5 years. Persepolis, though still exposed to various natural and abnormal elements, experiences tangible and intangible erosion with all its components. It is one of the most important monuments in the world. The general background of Persepolis has been cited many times. But less is known about its degradation factors, this is a fundamental research that has been done through library and field studies based on laboratory methods such as (XRD, XRF, SEM). . The results show that there is no evidence of deliberate destruction, neither in Alexander's day nor after. The palaces were destroyed due to the weakness of the building and the large distance. These palaces were destroyed naturally and for practical reasons. At the same time, the grandeur of these palaces is likely to remain as monuments.  

Purpose of the article:

1-Investigation of damages as well as natural factors that could have caused damage to Persepolis area 2.The validity of Greek historians' claims of Alexander's invasion of Iran   Article Questions 1. Have natural factors influenced the destruction of Persepolis complex? 2. Did Alexander's attack damage Persepolis complex?

Drawings on artwork in the form of ancient symbolic motifs from prehistoric times to the present day have been illustrated in abstract and naturalized manner. These concepts have purposes such as magic, amulet, ornament, allegory, lived experience, narrative, and so on. The triple archetype is also considered as one of such original and symbolic motifs. In Iranian art this motif has preserved its essence over time and in various governmental, political and religious circumstances and has moved from one era to another and has advanced with the development of ethnic groups. The three constituent elements of such an archetype consists of plant (tree or flower), human and animal (cattle and birds) elements which include a central pattern and two symmetrically patterns appearing on the two sides of the central feature. The pivotal point is how the Holy Trinity evolved from the sacred space to the decorative space. This transition has been maintained in various ways and is still present in the context of contemporary Iranian art. The purpose of this study is to describe and analyze 58 selected framed samples of Iranian paintings with an iconographic approach. These frames have been selected from Proto-Elamite to Contemporary with emphasis on the triple archetype on the Persian carpet which has 39 items. The results of the study show that traces of symbolism and sacredness are evident in the drawing of artifacts on the context of artworks, in spite of its ornamental decoration, the artist's and the audience's affection is evident. This attachment is the same aesthetic sense of the institutional in totemic symbolic objects. Notable in these trilogies are their gender, which some see as central to feminine and masculine motifs despite the disagreement of others.

Research aims:

1. Achievement of the developmental stages of form and content of the trilogy with focus on the variable tree element in the application of motifs in Iranian art. 2. Investigation on the form and content of the transformation of the triple archetype with emphasis on the motif of the tree in Persian carpets. Research questions: 1. What is the reason for applying the triple archetype from the past to present in the daily life of the people? 2. What developments have occurred in term of form and content on the tree motif?

Archetypes are one of the significant sections of mythological knowledge in which studying such features permits the analysis of the commonalities of the human mind in all ages; hence, by examining such archives, one can distinguish between the conscious and the unconscious mind, the essence of mythology. Anima is a famous archetype in Persian literature first introduced by psychologists like Jung. The ancient pattern of anima is semi-feminine in the presence of men. This archetype is shaped by the presence of the mother and father in every person's existence, and can evolve under the circumstances of one's life and society. This image has been repeatedly depicted by scholars in the poetry of various poets. Houshang Ebtehaj (H.F. Sayeh) and Siavash Kasraie are considered among contemporary poets in which archetypes have manifested in their poetry. The increase in public reputation in their literary works is due to the great deal of use of motifs, images, and words existing in people's ethnic memory. Since the role of a woman is an inseparable affiliate of Persian poetry which has been mentioned in various eras and at times has been the cornerstone of Persian poetry single-handedly, studying Anima's archetypes in the poems of Ebtehaj and Kasraie can aid to critique and analyze the thoughts and views of the two stated poets. In this descriptive-analytical study, data analysis method is qualitative and inductive reasoning method (from component to total) is used for reasoning. The results of this study suggest that due to the specific temporal and social characteristics of the poems of Ebtehaj and Kasraie, these archetypes take on various forms including significant features such as Anima of abstract/ imaginary and admiration towards nature which are reflections of these mysterious illustrations.

Research aims:

1. Investigating the distinctive role of the Anima archetype (woman and lover) based on psychological thoughts. 2. To think beyond the ideas of the poetry of Ebtehaj and Kasraie to study the archetype of "Anima" (the feminine psyche of men) and its various forms of appearance and presence in the words of these two poets.

Research questions:

1. How can one harmonize the ancient discourse of the Anima model with the topics of psychology? 2. In what way has the “Anima” (feminine psyche of men) archetype manifested in the poetic thoughts of Ebtehaj and Kasraie?

One of the controversial issues in the science of expression is the figure of speech of metaphor. In the early works of the rhetoric there is no mention of the metaphor and only Jarallah Zamakhshari and Jorjani have described it without any further mentioning. Later on, Sakaki elaborated on this in Muftah al-Alum. While according to Sakaki’s description and other rhetoric speakers, the metaphor of this structure is acceptable; others disapprove of its metaphor and regard it as a mockery and favor to refer to it as a simile and some merely repeat others’ views. Sakaki, as if observing that the metaphor was not a literal and metaphorical one, offered another analysis of such a metaphor, on the basis of which the metaphorical word the principals of simile were applied. Referring to these references, in the Sabikeh-al Zahab, although the brief Taftazani text is the criterion for this poem, but in the metaphorical discussion, by referring to the disagreements, the remarks of Khatib Qazvini is highlighted and his criticism of Sakkaki and Taftazani has been mentioned. Khatib Qazvini, an exponent of Sakaki's views, interpreted metaphor as "poetic simile in the soul" by refuting his point of view, which he called "metaphorical", thus refining the critics' view. Therefore, in this descriptive-analytical research these cases are described; furthermore, data is gathered via library research. The results of this adaptation imply that in the Sabikeh-al Zahab poetry, while referring to this divergence of views, opposing views such as Khatib Qazvin is mentioned and in the metaphorical discussion, the Khatib's point of view is more strongly insisted on and its reflection is evident in artworks.

Research aims:

1. Examine the themes of the metaphors in the style of Sabikeh-al Zahab poetry in accordance with the verses of the Qur'an. 2. Reflection of metaphors in the Sabikeh-al Zahab poetry in regard to artistic examples. Research questions: 1. How have metaphors been studied in the Sabikeh-al Zahab poetry in accordance with related artworks? 2. How can one study the effect of metaphors in Sabikeh-al Zahab poetry and artworks?

Throughout the history of Iranian painting, prominent figures have emerged that each had a significant role in the advancement of Iranian painting. Renowned painters such as Kamal-al Din Behzad, Sultan Mohammad, Reza Abbasi among others are notorious figures that adequate information in regard to their biography and style of work is readily available. Nonetheless, "Master Mohammad Siah Qalam" is among the artists in which less information is available and his status is in a state of ambiguity. Perchance, one reason for this obscurity can be due to the prowling of Siah Qalam’s artwork that were transferred to the Ottoman court along with other Iranian cultural and artistic works. The study of the artworks of Mohammad Siah Qalam have been the focus of many Eastern and Western scholars for decades; a topic that has been the subject of research for many years. So far no clear theory has been put forward to determine the personality and the number of artworks of Master Mohammad Siah Qalam for scholars and researchers. Therefore, this paper, accomplished through a descriptive-analytical method and library data collection technique seeks to address such issues. The results of this study indicate that Master Mohammad Siah Qalam, is “Ghiyasuddin Mohammad, the painter” who worked at the Amir Alishir Navai Library; furthermore, one of the reasons that led Iranian painters not to intimate the drawings of the demon by Mohammad Siah Qalam was that the artworks of this artist was transferred to Turkey by Sultan Salim and no painting attributed to him was not available for artists. Correspondingly, Mohammad Siah Qalam was deprived of court support because of his modification in artistic preference; and hence, his style gradually demolished.

Research aims:

1. To examine the identity of Mohammad Siah Qalam and his works with emphasis on his depiction of the figure of the demon. 2. To Investigate the influence of the demon motif in the paintings of Master Mohammad Siah Qalam with the demons of depicted in Iranian paintings (Miraj-nameh and Khavaran-nameh)

Research questions:

1. Has Mohammad Siah Qalam's depiction of the demon motif influenced Iranian painting particularly the two manuscripts of the Miraj-nameh and Khavaran-nameh? 2. What are some commonalities between the comparison of the images of Mohammad Siah Qalam's images with Iranian painting artworks (Miraj-nameh and Khavaran-nameh)?

Abul A’la Maududi (1903-1979) is one of the leading thinkers and philosophers of the Indian subcontinent whose ideas have had an immediate impact on Islamic fundamentalism in Pakistan. Maududi believed in the Ideological-Islamic realization, and in his thoughts concepts such as "God's sovereignty", "Islamic political system", "Confrontation with the West", "Necessity of the realization of the original Islamic society", "Islamic education", "Jihad" and other concepts with a distinctive Islamic essence were of importance. With the formation of Pakistan in 1947 and the feedback of Maududi s philosophies, this country has until today been renowned as a cradle for Islamic fundamentalism. Islamic fundamentalism considered as an ideology has certain philosophical-political components, propositions, and foundations that distinguish it from other ideologies of the 20th century such as liberalism, socialism and nationalism among others. Islamic fundamentalism, despite its diversity in opinion and practice in the Islamic world, has common intellectual and political foundations, including: the comprehensiveness and inclusiveness of the Islamic religion, the link between religion and politics, the necessity to return to the principles and foundations of Islam, the establishment of Islamic rule, pragmatism, and devising a practical plan and strategy for the transition from the non-Islamic conditions to the ideal Islamic situation. This article is a descriptive-analytic research study in which resources are gathered based on a library method. The results of this study indicate that Maududi’s notions have led to the growth of Islamic fundamentalism and have influenced various Islamic fundamentalist groups in Pakistan. Such influence can be traced to the process of Islamic identification of Pakistan's political system, the growth and expansion of Islamic parties, religious schools, and fundamentalist organizations and groups in the country.

Research aims:

1. Identifying the ideological orientation of Islamic fundamentalist ideology in the Pakistani political system.
2. Explain the continuing role of mosques and religious schools in shaping Pakistan's fundamentalism.

Research questions:

1. What effect did Maududi’s ideas have on the Islamic fundamentalism in Pakistan?
2. How can the role of mosques and religious schools be explained in the fundamentalism of the Pakistani people?

Qahestan is a region in the historical geography of Iran that has a huge and resilient connection with the Great Khorasan area. Although most of the mentioned region is divided between Southern Khorasan and parts of Razavi Khorasan, nevertheless, Qahestan has witnessed imperative past events in its historical course. Qahestan province, due to its geographical location and cultural context in the field of education and training, had a special role in Islamic culture and civilization from the Seljuks to the end of the Safavid era; hence, great scholars such as Khajeh Nasir al-Din Tusi emerged from this province. Also, important factors such as socio-politic, economic and cultural factors have influenced the educational status of Qahestan from the Seljuk period to the Safavids. This study which is based on a descriptive-analytical research, seeks to determine the factors affecting education in Qahestan from the Seljuk to Safavid eras. The findings of the study indicate that the status of Qahestan education is subordinate to its political, economic and cultural status, which underpins the excellence of educational institutions. In terms of politics, the establishment of public schools and from an economic point of view, the region is considered as a bridge in terms of culturally intellectual and ethnic pluralism; hence the mentioned features are among the major contributors to the improvement of educational status and stability in the area and, in due course, famous families such as Khazimah and scholars such as Khajeh Nasir al-Din Tusi among others emerged from this area accomplishing great achievements in the development of Islamic culture and civilization.

Research aims:

1. To Investigation of the socio-politic, economic and cultural factors on the educational status of Qahestan from the Seljuk period to the Safavids.
2. To Explain the role of Qahestan province in the development of scholars such as Khajeh Nasir al-Din Tusi.

Research questions:

1. What factors influenced Qahestan's educational status from the Seljuk period to the Safavids?
2. What role did the Qahestan province play in the development of scholars such as Khajeh Nasir al-Din Tusi throughout history?

The theories of aesthetic schools of philosophical schools each have defined the concept of aesthetics and explained its perceptional process. In the aesthetic theories of the Western philosophical schools, by the epistemological analysis of the concept of beauty, have considered aesthetics as tangible and subjective. But in Islamic theology we see a distinct approach to the question of beauty and its perception. In the theological attitude, the truth and the existence of man and the world around him is regarded as the manifestation of goodness and divine glory. The unified universe is beautiful and beauty is not an epistemological and subjective matter, but an ontological and objective one. Art and beauty for the mystic poet like Rumi is an experience in which beauty is not a specific concept but a unique living truth that brings man closer to the essence of truth and a means of understanding and perceiving Rumi's truth, ideas and theories about beauty is merely a religious and Islamic; moreover, art and beauty are dominated by a divine theology.In this research, which has been accomplished via library method, by citing and quoting Masnavi and Shams Tabrizi's sonnets the mentioned feature is regarded upon and summarized. The results of the study imply that Rumi's perception of beauty is not sensual pleasure but a way to guide and connect to the source of existence, goodness, and aesthetical beauty. For him, the discussion of art and beauty is outshone by a divine theology. Also, Rumi makes it challenging for anyone with no humanity to be aware of the place of goodness and beauty in the universe, but also considers it impossible to know the true and aesthetic existence on an equal footing, which is in fact the indicator and manifestation of God in this worldly universe.

Research aims

1- The examination of Rumi's views on beauty in Masnavi and Shams' sonnets. 2- To Study the concept of beauty and its perception in Islamic theology.

Research questions:

1. What are Rumi's conceptions and interpretations of the aesthetical beauty in Masnavi and Shams' sonnets? 2. How is the issue of beauty and its perception expressed in Islamic theology?

"Symbol", "Keyword" or "Sign" are words that have diverse connotations. Symbols or mysteries (in its true sense) have enriched human life, so that no part of human life is free of the enigmatic. Symbol has long been used extensively in the arts and literature; furthermore, by the use of symbolism, the appearance of a word finds a hidden and symbolic meaning, which can diversify the expression of philosophies and ideas. Symbols in world arts and literature may have a diverse meaning depending on the culture and tradition of that nation, or in appropriate artistic and literary themes. Fish symbols have been widely used in mythical, religious and poetic literature as well as on the artworks of worldwide nations for various purposes. The artworks of Iran from the pre-Islamic era and beyond have hosted this pattern. The present research follows a descriptive-analytical approach and data collection is accomplished via library means. The results indicate that in mythology, fish are generally recognized as symbols of fertility and productiveness and have been applied in all faiths. In the Holy Qur'an, in the stories of Prophets Jonas, Moses and Khezr (PBUH), this symbol represents the search for the inner-self. From the study and comparison of the symbol of fish in mythology, Qur'an and the Masnavi on artworks, it appears that its implied meaning is related and in correlation with all the mentioned sources. In addition, from past eras, this symbol has long been used in decorative elements and handicrafts.

Research aims:

1-To identify the commonalities and symbolic distinction of the fish symbol in mythology, Holy Qur’an and the Masnavi Manavi. 2- To examine how fish symbols are applied in artworks.

Research questions:

1- How has the symbol of fish applied in mythology, Holy Qur’an and Masnavi Manavi? 2- How is the symbol of the fish applied in artworks?

Folklore culture and literature have long been linked to the ancient beliefs and views of human societies, Hence, it has become a magnificent asset that is a reminder of the artistic tastes and moods of the people of the past and a solid evidence of the national and cultural identity of human beings. One of the elements of popular culture, folk beliefs and beliefs that has existed in the culture of most nations for so long, has been examined by each ethnicity in accordance with their culture and beliefs. Bidel Dehlavi is one of the poets who has explored these beliefs and opinions in the Indian subcontinent. Bidel's sonnets have the potential to be examined and analyzed; thus, in this descriptive-analytic study using library tools, the authors intend to explore the scope of these fascinating beliefs and dimensions, and the extents and instances of elements of popular culture in the poetry of Dehlavi. The result of this study shows that Bidel Dehlavi, with his scientific, religious and social abilities and skills, applied folklore elements and popular beliefs in the form of imagination in his sonnets while at the same time taking the roots and texture of these rhetorical forms from the language of the people and has added belief to his imaginative and literary artworks to the extent that he has permitted scholars to identify the intellectual origins of his poetry.

Research aims:

1- The examination of natural and visual elements in Bidel Dehlavi's sonnets. 2- The investigation of popular beliefs and principles in the form of imagination in Bidel Dehlavi's sonnets.

Research questions:

1- How is the natural and visual reflection reflected in Bidel Dehlavi's sonnets? 2. How are the popular beliefs, dimensions, and instances of elements of popular literature expressed in Bidel Dehlavi poetry?

One of the major issues of theology is the issue of God's agency. The agency of God - as the agency of every other agent - has a complete relation to his science, which is another of the fundamental questions expressed in theology. The subject of divine agency has been an important topic in the history of philosophy. In this occasion, the principle of divine agency and creation, which is one of the earliest religious teachings in the heavenly religions, is disputed, and the origin of God's action and agency goes back to the innate nature and attributes of God. Allameh Tabatabai, one of the great scholars who has dealt with the subject of God in the system of being, as a philosopher and interpreter of transcendent wisdom, as well as an expert philosopher, while explaining Sadra's beliefs and criticism. From his point of view, out of the six types of agents; God is considered as the superior. This agent is the agent who has knowledge of his verb and performs it by the will and authority of the agent, and all of his knowledge is the source of the act of issuing the verb. This research, which uses a descriptive-analytical approach to Allameh Tabataba'i's thought and attitude about the existence of God in the system of existence and its reflection in the inscriptions of Islamic architecture as Islamic artworks, has been done through library data collection. The results show that after the revelation and understanding of the viewpoints and theories of the agency of God in the system of existence from the point of view of Allameh Tabatabai, as a theory of creation and formation, one can make artistic creations such as inscriptions in Islamic architecture and reflecting mystical ideas.

Research aims:

1- To analyze the viewpoint of Allameh Tabatabai in regard to the agency of God in the universe. 2- To study the reflection of such a view in the inscriptions of Islamic structures.

Research questions:

1- How is the viewpoint of Allameh Tabatabai in regard to the agency of God in the universe? 2- How is such an outlook reflected in the inscriptions of Islamic structures?

Challenges in improving monuments are one of the most controversial issues in architecture. Today, due to the high cost of construction and the economic inability of owners of worn-out structures, one of the ways to improve and rebuild such areas is to partner with public and private sectors. Gorgan, a city that plays a central role in attracting tourism due to its special position in the northern tourist belt of Iran. Therefore, the statistical population for this research consists of 1040 houses equivalent to 280 households to participate in remodeling and refurbishment of worn-out structures in partnership with private or public sectors. The research method of this study is descriptive-analytical following a practical and developmental method and data collection is gathered via documentary and field survey. Also, statistical analysis is accomplished through GIS, SPSS, Excel software and AHP hierarchical analysis. The results show that if there are legal infrastructures for public and private partnerships, compliance with urban planning criteria in line with the major goals of urban renewal and remediation, adequacy of incentives and packages, co-ownership and participation of stakeholders, increased involvement of relevant institutions in participation; in addition, the use of specialist, wealthy and indigenous investors in the region can create a successful partnership in the sustainable revitalization and improvement of the city of Gorgan and further attraction of tourism.

Research aims:

1. Investigating the impact of public-private partnerships on renovating the worn-out structures of Gorgan. 2. Analyzing the effect of Gorgan's revitalization and improvement strategies on tourism attraction.

Research questions:

1. How can public-private partnerships play an important role in refurbishing the worn-out structures of central Gorgan? 2. What are the ways to revitalize and improve the city of Gorgan in attracting tourism?

The importance of the role of rural women in human resources is important, not only in domestic activities, but also in production activities outside the home.  according to women are engaged in activities both at home and abroad, and their share in economic and social activities needs to be determined more accurately and extensively. In this article, Has been used Grounded theory method and Participatory Rural Appraisal, Rapid Rural Assessment, Semi-structured interviews, observation and walking in the field and group discussion techniques, and has used snowball techniques for Selection of statistical samples up to theoretical saturation stage (In the twenty fifth person) in the data, and after analyzing the collected data in the field Through coding (open, axial, and selective), by choosing a central category of "Empowering rural women" a theory has been extracted based on collected data from the field. Then, according to data analysis based on the principles of the dominant theory of theory, the theory of "Empowering rural women as a factor for local development" was obtained from the data. Then a suggestion was made to get out of this situation. This article reviews the factors affecting rural women empowerment in Eshgabad Neyshabur District, specifically the rural handicrafts of these women in relation to local development. The results show that the participation of villagers, especially rural women, in development programs is essential to achieving the goals of comprehensive development. Therefore, it is possible to provide a theory that includes all the elements of a complete research and provide strategic suggestions for "empowering rural women as a factor for local development."  

Research objectives:

Investigating the problems and factors affecting the empowerment of rural women in Ashgabat village of Neishabour city. Investigation of artifacts of rural women's handicrafts in Ashgabat village in connection with local development

Research questions:

What factors affect the empowerment of rural women in Ashgabat village of Neishabour city? How are the products of women's rural handicrafts in Ashgabat rural district related to local development in this region?